Midsomer Murders: 'Judgement Day' Script
Orlando plays Peter Drinkwater
Script in PDF format
Orlando's part only
Midsomer Murders Ep. 'Judgement Day'
RAVENS HOUSE EVENING.
opening sequence is highly stylised…perhaps even black and white. Short
cut together in a jagged, nightmarish way. The house is Victorian
an isolated setting, grim and forbidding. There is a 1950’s car
want you to go. Why do you
and RUTH WESTON are a well-off couple, going out for a tenth
dinner. ANNABEL is their seven-year-old daughter. A rather
child whose anger borders on the psychotic.
on, Anna. We talked about
It’s mummy and daddy’s anniversary.
care! I don’t want you to go!
be home later. Don’t you want
have a nice time?
glances at RUTH. She’s worried. They both are. Then MRS
appears in the doorway. She’s a woman in her fifties - solid and
A housekeeper and nanny to ANNABEL.
- 2 -
leans down - she’ll have one last try with ANNABEL.
be all right with Mrs Foster.
have a nice time.
flounces round and storms into the house, pushing past MRS
who looks on helplessly.
LANE FROM RAVENS HOUSE EVENING.
and MICHAEL drive off down the rough, bumpy track. Neither of them
RAVENS HOUSE - KITCHEN EVENING.
ANNABEL has dropped a plate of food onto the floor…on purpose. MRS
towers over her, stern and angry. The whole scene is distorted, the
to something horrible.
naughty child! You go straight
room. You’ll watch no
care. I hate you!
rushes out of the room. MRS FOSTER calls after her.
just wait until your parents
home. You wait until I tell
- 3 -
RAVENS HOUSE - LIVING ROOM NIGHT.
FOSTER is watching the (black & white) television. The very earliest
ITV! The bulky cathode ray tube throws strange shadows across the
claustrophobic living room.
RAVENS HOUSE - ANNABEL’S ROOM NIGHT.
pretty child’s bedroom - sloping eaves, rocking chair etc…but it’s still rather
Lots of stuffed toys including a huge gollywog which stares at the
with eyes that are somehow too large. The bed is empty. There is no
RAVENS HOUSE - UPPER CORRIDOR NIGHT.
corridor is also empty. It seems to stretch on for ever.
RAVENS HOUSE - KITCHEN NIGHT.
kitchen drawer opens. Inside the drawer we see a long, wicked-looking
RAVENS HOUSE - LIVING ROOM NIGHT.
FOSTER is watching television. She doesn’t hear the door open behind
She doesn’t hear the footsteps approach. She looks up only when it is too
The blade of the kitchen knife hovers above her. She can see herself
in it. The knife slashes down. MRS FOSTER screams.
RAVENS HOUSE NIGHT.
- 4 -
RUTH and MICHAEL return from their dinner. RUTH is the first out of
INT. RAVENS HOUSE - HALLWAY NIGHT.
as she turns the light on. MICHAEL with her. Why was the light
Why is the house so quiet?
RUTH is worried. Already she knows something is wrong.
INT. RAVENS HOUSE - LIVING ROOM NIGHT.
opens the door of the living room. The television is still on but the
is blank. MRS FOSTER is lying on the carpet. She has been butchered.
stifles a scream, then runs out.
INT. RAVENS HOUSE - STAIRS NIGHT.
panic, the world spinning, RUTH runs up the stairs. MICHAEL sees her.
INT. RAVENS HOUSE - ANNABEL’S ROOM NIGHT.
- 5 -
rushes into the room and stops dead. A flood of relief. ANNABEL is
She’s in bed, asleep, sucking her thumb.
Thank God! Oh thank
snatches the child up in an embrace. Then she sees it. Her eyes widen
horror. The gollywog is holding a blood-stained kitchen knife, cradling it in
arms. Just as RUTH takes it in, the door opens and MICHAEL is there. He
ANNABEL. He sees the knife. He knows. They both do…
EXT. MIDSOMER MALLOW - SHOP DAY.
years later. MARY DRINKWATER, a large and indomitable
cycles past the village butcher shop. She sees the butcher through
window and open door and honks the horn on her bike several times.
on, Ray! You don’t want to be
INT. RAY DORSET’S SHOP DAY.
the shop, JACK DORSET, RAY’S twenty-one-year-old son, is
a chicken. Another butcher’s knife! JACK is pale, glum, weakwilled,
with village life. His father, RAY, is a widow, in his fifties, goodhumoured
still in love with a village in which he has spent his entire life.
takes off his butcher’s coat.
back in an hour.
know why you’re wasting
time going. They’re all snobs.
- 6 -
hesitates at the door. He and JACK have grown apart all too quickly.
for the village, Jack. That’s why
EXT. LOTHLORIAN DAY.
(from the Lord of the Rings) is a large, modern house…glass sliding
flowers in tubs & barrows, perhaps even a swimming pool. The lawn is
immaculately cut by a man on one of those expensive, tractor mowers.
MARCUS DEVERE, a blimp in his late fifties, once something in the
now retired. He’s been in the village only eight years and sees himself as
movement at the gate and BELLA DEVERE appears. An opinionated, bossy
she is indeed rather snobbish. She bullies MARCUS…but only
she knows he doesn’t mind.
It’s five to eleven. We ought
on our way!
keeps on mowing!
coming! I’m coming! Don’t blow
shakes her head. To her, MARCUS is like a naughty schoolboy. At
moment, the door of the house opens and CAROLINE DEVERE comes
punkish, not very attractive girl of about twenty, CAROLINE is also
- 7 -
are you going, dear?
dunno. Just out. I’ll see you…
watches CAROLINE leave. She is faintly worried.
INT. VET CLINIC DAY.
BRIERLY is a shaggy, shabby disappointment of a man. In his
He’s examining a dog which doesn’t look much better than him, feeling
hips. A small boy - ALEX - watches the examination.
There…that feels much
Is he still limping?
we’ll keep him on the steroids
little longer but I think he’s going
OK. (Patting) There’s a good
door opens and LAURA BRIERLY comes in. A few years younger than
she’s long been out of love with him. Rather spiteful, she needs
love and isn’t getting it from him. Her dress sense is “mutton dressed
lamb”. She sees GORDON with his hand concealed somewhere behind the
- 8 -
If you don’t mind taking
hand out of that dog’s arse,
darling, it’s time to go.
EXT. THE COCK AND HOOP DAY.
village pub. Determinedly pretty.
we come to the main item on
agenda. The Perfect Village
INT. THE COCK AND HOOP DAY.
- closed - is being used as an ad hoc committee room for the selfappointed
Mallow committee: MARCUS and BELLA DEVERE,
& LAURA BRIERLY, MARY DRINKWATER, RAY DORSET
Coffee has been served.
all know, it’s just three days
right. And let’s not forget the
prize of five thousand pounds
could rebuild the village hall for
- 9 -
Ray. So we’re not
anything to chance. Bella?
hands MARCUS a sheet of paper.
The welcoming committee
myself, Bella and Gordon will
the judges at ten am, for a
the village. (To GORDON)
the historical commentary
started it but actually I’ve got a
Gordon’s had a lot on his
have it done, though. Don’t you
got the tent going up on the
on the 9th. Lunch to be served
got the food all taken care of,
Devere. Sausages. Chicken
pasties. I’ll do the village
the same time I’ll be serving
apricot and elderberry has
out absolutely tip-top this year.
- 10 -
certainly make an impression.
course entertainment! A
gala on the green to
to worry about there,
I’ve been working with the
band. In fact we’ve been
at it hammer and tongs.
literally, I hope!
important to show these judges
there’s still some young blood
suppose we know yet who the
Rosemary Furman, editor of
Matters magazine, is one of
understand Frank Mannion
on the panel.
that gardening programme
“Up the Garden Path…”
Annabel Croft has
to join them. And then
a member of the general
- 11 -
They ran a competition in
Matters and one of the
- I’ve got the name somewhere
anyway, whoever won it,
join the panel. She’ll
be the easiest to impress.
- to RAY) Bung her an
sausage and her vote will be
INT. BARNABY’S HOUSE - KITCHEN EVENING.
is making dinner for BARNABY - on their own for once. JOYCE is the
winner of the Country Matters competition. BARNABY is reading a copy
glossy rural magazine.
you’re going to be a judge? What
was the first prize, Tom. It
week away from home.
class travel. And a big dinner
end of it.
away from home…
worry. I’ve already phoned
She’s coming tomorrow.
as a matter of fact. She’s
is ready. JOYCE and BARNABY move over to the
- 12 -
something to do with the
I’m sure she’ll tell you all
Perfect Village Competition. I
suppose any of the Midsomer
have made it through to the
is one. Yes. Midsomer
(Pause) Don’t tell me, Tom.
investigating some grisly
It’s all pretty quiet at the
- apart from one thing.
had a spate of burglaries.
INT. WINDWHISTLE FARM - BARN EVENING.
DRINKWATER, a darkly handsome and obviously roguish man aged
twenty, rolls out of bed and starts to get dressed. Half-naked, he has a
chain around his neck. He was in bed with CAROLINE DEVERE. He has
large, scruffy room in a barn. An isolated part of the farm.
got to go.
Petey! Have you?
And so have you.
Why? Where are you going?
CAROLINE watches as PETER draws on a black polo.
She pouts at him.
is fully dressed. Outside there’s the hoot of a car. He leans over and
EXT. WINDWHISTLE FARM EVENING.
barn stands in an old, derelict farm. Lots of outbuildings scattered around.
DORSET has drawn up in a battered white van. It’s his father’s van.
PETER, he is dressed in black.
- 13 -
haven’t got business. There’s
else, isn’t there.
bear it if there was. I
better get home. Your mum
would kill you if they knew
kill you first.
you sure about this?
- 14 -
said he was going to be in
Not back until late.
It’s too much too soon.
going to get caught.
You losing your bottle,
gets into the van and the two of them drive off.
EXT. GREYFRIARS HOUSE NIGHT.
large, rather forbidding house on the outskirts of Midsomer Mallow. It is set
own grounds with a gravel drive leading down to a gate. The white van is
shadowy figures run round the side of the house.
INT. GREYFRIARS HOUSE - CONSERVATORY NIGHT.
gloved hand breaks through a window, then reaches round to unlock a door.
- 15 -
DRINKWATER and JACK DORSET come into the conservatory. They
both wearing balaclava masks.
INT. GREYFRIARS HOUSE - HALL/LIVING ROOM NIGHT.
begin to ransack the house and they’re messy and destructive with it.
deals with the small stuff: a silver lighter, silver knives and forks, a
various ornaments. PETER unplugs a brand new computer with tower,
etc…he’ll take that along with the TV, CD player etc.
go, they are watched by a collection of stuffed toys. Prominent among
toys is a gollywog that might make us think of the opening scenes.
EXT. GREYFRIARS HOUSE NIGHT.
comes out with the first load and bundles it into the back of the van.
INT. GREYFRIARS HOUSE - HALL/LIVING ROOM NIGHT.
on his own. Riffling through drawers. He doesn’t notice a door open a
He is being watched - but we don’t see by whom. A single eye stares at
through the crack in the door. Watching. There is something slightly
about the eye.
stops, a porcelain bowl in his hand. He is suddenly aware that he is
watched. He turns towards the half-open door, begins to move towards
before he can get there, PETER suddenly returns.
whisper) What is it?
whisper) I thought I heard
notices the bowl.
- 16 -
knocks the bowl out of JACK’S hand. It smashes on the floor.
nothing here. Let’s go.
notices a portrait above the fireplace. A lean, saturnine man…an
We’ll know him as EDWARD ALLARDICE. PETER takes a poker out of
fireplace and uses it to slash the canvas.
hesitates for a moment. Suddenly he’s aware, like JACK, that he’s not
has been watching PETER from the door. The eye widens with fear
indignation at the sight of the torn canvas.
turns and leaves the room.
INT/EXT. THE VAN/GREYFRIARS HOUSE NIGHT.
starts up the van. PETER gets in.
takes off his mask. JACK does the same.
- 17 -
of them speed down the path, swerve left at the bottom (cutting up
gravel) and disappear into the night.
EXT. GREYFRIARS HOUSE DAY.
following day. The police have arrived…and with them TROY and
is this now? The sixth…?
burglary in two month.
not a spate. That’s an
Who is it this time?
name’s Edward Allardice. He’s a
actor. Lives here alone.
big place for one man. So
was he last night?
ask him yourself. He’s
INT. GREYFRIARS HOUSE - LIVING ROOM DAY.
ALLARDICE is in his late fifties…older than the portrait we saw
night before. A distinguished looking man with a scar running down one
Once again the gollywog is a silent witness of the scene.
- 18 -
to go to London yesterday. A
with my accountant. I
get back until one in the
It’s almost as if they knew.
tell anyone about your
plans, Mr Allerdice?
keep myself to myself. (Pause)
have mentioned something to
glance from BARNABY.
Dorset. The butcher. You can’t
there without chatting. I
I may have mentioned it.
there was no-one in the house.
My wife died some years ago
live here alone. But I may be
was driving home, I saw a
van. I was quite near the
and it was doing a ton. That’s
suppose you got…
registration number? I got most
M 932. Then an L - or it could
been an E- something F. It
past too fast.
- 19 -
takes a note.
may be very helpful, sir.
I get my hands on the little
who did this, I’ll kill them!
wasn’t just what they stole. It
damage. That portrait was
by Lucien Freud. And the
they smashed, it was given to
do what we can, sir.
ever, BARNABY picks up what TROY has missed.
don’t mind my asking, sir,
you know there were two of
said “little bastards”. Plural. It
have been just one.
Well…I assumed. They
come in pairs, don’t they?
EXT. GREYFRIARS HOUSE DAY.
and TROY walk down to the gate where the tyre marks gouged
the gravel by the van can be clearly seen.
don’t think he was lying, do
About being out of the house?
- 20 -
from BARNABY. He looks down at the tyre marks.
were made last night. I’ve
them. They don’t match his
They could belong to the white
possibly, Troy. But these tyre
are quite clearly turning that
(Points) But surely the London
Allerdice was coming from
wouldn’t have seen it.
doesn’t know what “obfuscating” means but doesn’t like to say so.
burglaries in one small area.
think they must have some
mentioned the village
Dorset. Yes. that’s where you
go for information. The
33. INT. RAY DORSET’S SHOP DAY.
DORSET confronts BARNABY and TROY. JACK is working in the
- 21 -
you’re police officers, are you?
all these break-ins?
sir. You must know quite a bit
the village, working here.
suppose I do.
there been anyone in here
new to the area? Someone
showing an interest in
last person to come to the
was Mr Allardice. That was
recent. About five, six years
more recent than that?
don’t like to point any fingers
you could talk to Peter
- 22 -
background, JACK stops working.
Mary Drinkwater’s nephew.
great nephew. He come back at
start of the year. Lived with her
while but then he moved into
farm. Windwhistle Farm. It’s
young lad. A bit on the wild
Not that I’m saying he’d get
in any trouble, mind. But
EXT. JACK DORSET’S SHOP DAY.
and TROY leave.
Drinkwater. I have a feeling
name rings a bell.
want to see him?
you have other plans…
get into the car.
INT. RAY DORSET’S SHOP DAY.
watches BARNABY and TROY leave, at the same time slicing meat.
- 23 -
you have to do that? Why
have to talk about Peter
have said more than I did.
trouble. He’s leading you into
and I wish he’d never come
Sometimes I want to…
Never you mind.
still holding the butcher’s knife. He slices open a joint of meat.
INT. LAURA’S BEDROOM DAY.
almost exact replay of Scene 30. PETER DRINKWATER, half-naked, with
gold chain in place, rolls onto his back. But this time the image is a even
He’s in bed with LAURA BRIERLY - with an age gap of about twenty
she’s very much the older woman. Worse, this is her bedroom (Habitat
country chintz) and her marital bed.
time is it?
will be back soon. It’s his
surgery. You have to go.
- 24 -
gets out of bed and quickly gets dressed.
don’t care, do you.
go. You don’t care. (A smile)
maybe that’s what I like about
Peter. You’re so bloody heartless.
like an animal.
complimenting you. (Pause) If
ever found out about us,
neuter you, do you know that?
good at that.
don’t like Gordon, why do you
about him so much?
reaches out and kisses him.
you ever change. I like you
the way you are.
catches her wrist.
know what I like about
- 25 -
releases her. She gets out of bed, finds her handbag and takes out fifty
She’s hurt and decides to bite back…
still seeing that girl? The
slight reaction from PETER. LAURA presses on, knowing she’s scored a
You’ve got plans there, haven’t
Well, a word from me and that
be all over. I wonder what
say if she knew about me?
Get lost, Laura. Just piss
all right? You start threatening
can look for your fifty quid
her) Maybe you should try
He’ll do it for thirty and he
even enjoy it.
You little bastard…!
slaps PETER across the face. PETER freezes for a moment, then he
the money and walks out. LAURA is left alone with her rage.
EXT. GORDON BRIERLY’S HOUSE DAY.
strolls nonchalantly out of the house. We might see the plaque:
BRIERLY - VETINERARY SURGEON. The nearest house is
- 26 -
DEVERE’S and PETER glances in that direction to make sure he
doesn’t notice pull in on the other side of the road. GORDON
has got home early. He sees PETER come out of the house and -
his manner, his cocky walk, guesses what has been happening. GORDON
with growing disgust and fury.
gets into his car, a beaten-up Morris. He drives off.
EXT. WINDWHISTLE FARM DAY.
and TROY have arrived at the farm and get out of their car. They
a yard with out-buildings dotted around. Windwhistle Farm is empty,
Farm. If you were
to hide stolen loot, this would
place to do it.
these out-buildings. It’s got to be
DRINKWATER has arrived, driving home in his Morris. He stops the
doesn’t get out. BARNABY and TROY walk over to him.
- 27 -
you’re police, aren’t you.
takes out his ID.
Sergeant Troy. Causton
This is Detective Chief
the same smell. You can always
you mind stepping out of the
We’d like to talk to you in
with a break-in at Greyfriars
you? And what if I don’t want
realise we could be back
six hours with a warrant to
this entire place?
it. I don’t give a damn.
throws his car into reverse, then spins forward, driving between TROY
BARNABY who have to get out of the way hurriedly. Then he’s off, back
want me to take a look
- 28 -
Let’s do this by the book, Troy.
better get that warrant first.
and TROY move back towards their car.